| Course Name | Film Seminar I: Narrative Forms and Styles |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 211 | Fall | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | Online | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce students to films that have an important place in film history and yet have low visibility in the framework of commercial cinema, and to enable the students to acquire film culture. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This is the first of a series of courses, introducing, screening and analyzing films crucial to forming film culture. The course includes canonic, experimental, avant-garde examples of early cinema, European and American film movements, from the late 19th century to the 1980s. Evaluation will be based on one midterm and one final exam. |
| Related Sustainable Development Goals | |
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| Core Courses | X |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | Pages 6-13 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema: [the definitive history of cinema worldwide]. Oxford [u.a.], Oxford Univ. Pr. |
| 2 | Birth of Cinema — between art and entertainment - Screening Excerpts from Lumiere Brothers George Melies - Voyage to the Moon Thomas Edison - The Great Train Robbery Lois Weber – Suspense (1913) | Pages 13-23 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema: [the definitive history of cinema worldwide]. Oxford [u.a.], Oxford Univ. Pr. |
| 3 | Silent Film Screening Metropolis, Fritz Lang (1926) | G. Nowell Smith “The heyday of the Silents” in NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. Pp. 192-204. |
| 4 | Early Documentary Screening Robert J. Flaherty - Nanook of the North (1922) | Pages 86-91 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. |
| 5 | Russian Constructivism Screening DzigaVertov, The Man with the Movie Camera (1929) | Denise J. Youngblood “Soviet Cinema: The Old and the New” in European Cinema (Ed. Elisabeth Ezra) (2004), pp.41-58. Pages 92-94 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. |
| 6 | Surrealism in Cinema Screening Luis Buñuel - L'Age d'Or (1930) (60 min) Luis Buñuel - UnChienAndalou (1929) (21 min) | Rudolf Kuenzli “Dada and Surrealist Film” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 78-96. Tony Richardson “The films of Luis Bunuel” Sight and Sound; Jan 1, 1954; 23, 3; pg. 125. |
| 7 | Italian Neo-Realism Screening Vittorio de Sica - Ladri di biciclette (1948) (93 min) | Peter Bondanella “From Italian Neorealism to the Golden Age of Cinecittà” in European Cinema (Ed. Elisabeth Ezra) (2004), pp.119-138. Richard Winnington, “Bicycle Thieves” Sight and Sound; Mar 1, 1950; 19, 1; pg. 26. |
| 8 | Nouvelle Vague Screening Jean-Luc Godard – À bout de soufflé (1960) (90 min) | Pages 576-580 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. Jefferson Kline, “The French New Wave” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 157-175. |
| 9 | MIDTERM EXAM | |
| 10 | Cinema Verité Screening Chris Marker - La Joli Mai (1963) (145 min) | Charles Musser“Cinema Veriteand the New Documentary” in NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. pp. 527-537. Michael Kustow “Le Joli Mai”Sight and Sound; Spring 1964; 33/2; pp. 93-94. |
| 11 | British New Wave Screening Lindsay Anderson - If (1968) (111 min) | Sarah Street “From Ealing Comedy to the British New Wave” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 176-193. Robinson, David “Anderson shooting IF...” Sight and Sound; Summer 1968; 37, 3; pg. 130. |
| 12 | Czech New Wave Screening VeraChytilova – Daisies (1966) (79 min) | Frank, Alison. “FormalInnovationand feminist freedom. VeraChytilova’sDaisies” CineAction. No: 81, Summer 2010. |
| 13 | Art Cinema Screening IngmarBergman – Persona (1966) (85 min) | Pages 567-575 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. |
| 14 | New German Cinema Screening Wim Wenders - Alice in the Cities (1974) (110 min) | |
| 15 | Review of the semester | |
| 16 | FINAL EXAM |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | NOWELL-SMITH, G. (1999) The Oxford History of World Cinema. Oxford University Press. Ezra, Elisabeth (Ed) (2004) EuropeanCinema. Oxford University Press. |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| Final Exam | 1 | 50 |
| Total |
| Weighting of Semester Activities on the Final Grade | 4 | 100 |
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 16 | 2 | 32 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 14 | |
| Final Exams | 1 | 26 | |
| Total | 120 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | |||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | |||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | |||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | |||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
